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porcellus posted:What's the take on how crucial joining a union is? I'm not certain what I want yet, but I've always had this inclination towards doing tasks that pretty much amount to (really elementary) gaffing. I like lighting still photos, pretty obsessed with the idea of working on a scaffold with lights, etc etc. What about certificates and stuff? Is there ever any crossover work? Is it often that the sets are small and you end up doing set construction as well? Set construction is also attractive to me. It depends what you wanna do. For gaffers, I'd say joining the union is fairly important, given the health benefits and generally better paying jobs. Especially if you're a gaff who doesn't want to shoot. That is, unless you want to gaff low budget indies as a career. And there's no crossover between those two, unless you're on something really, really, really small (in which case you are most likely the director, producer, writer, editor, and caterer)
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Mar 21, 2013 20:02
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I live in Portland but wouldn't mind uprooting to California. I met two gaffers while waiting their table, they're customers of mine who are currently working on the set of Grimm. I was trying to make it clear to them that I was pretty motivated to work in lighting and they kinda told me I had some hoops to get through + pay a union a 400 bucks just to get my foot in. They half-heartedly invited me to take a tour of their set though.
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Mar 22, 2013 08:09
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The union is pretty good for getting portable health care in the job bank. The Motion Picture Plan has been pretty awesome for me lately. The benefits are nice, but I'm not sure of the numbers you need to work for qualification. At my local [IATSE] it was around 400 hours then you start banking in hours into the system. My Dad is pretty much in retirement from trucking and one of his friends who deals with a lot of prop storage and set transportation wants him to joint the teamsters and help manage his logistics, not sure how that works, hes looking into it. Hes used to trade shows and moving expensive equipment around [He moved the Canada Arm using air bags from SPAR aerospace to NASA for the shuttle and lots of high end fragile equipment], hes thinking it may be a nice change from long haul driving. I don't work on set much, but when I do it's fun, set security is always awesome for a good story or two. Big K of Justice fucked around with this message at 20:17 on Apr 1, 2013 |
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Apr 1, 2013 20:13
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An important point about unions is that it becomes absolutely crucial to be a member if you want, or hope, to work on bigger shows in your function of choice. Though whether you really want to do that is up to you but don't expect to be working on the new Spielberg unless you're union. It can be very tricky to get on the union roster, outside of maybe working on a non-union show that flips (rare but not impossible), and you will need to do quite a few work days on a union show to qualify, I believe it's anywhere from 30 to 90 days inside two years, depending on which local you want. This is easier said than done since the function you want will likely already be filled by a union guy. So you either need to get the producer to hire you because you rock so much (which gives you an "in" into the union too) or start in a low function that is non-unionized. You will need to get a waiver to be allowed to work on that show in most functions outside of PA-ing or something. You can get in the union through non-union shows too but it takes a lot more days and other loopholes. There's some other small crap to deal with but that's the biggest hurdle you might face. Important point to remember is that being on that roster does not guarantee work but it does mean the work you get will likely not abuse you as much as a non-union show might (i.e. no 20 hour days with cold pizza for lunch  ), also better benefits and insurance, and better pay. All things that we like! On the whole, you need to decide for yourself if it's beneficial to try to get in the union at the start of your career or if you want to rough it on the (generally lower budget) non union shows for a few years while you build up experience (which will make it easier to get in simply because producers will want to work with you more so that waiver will be easier to get). My advice would be the latter, get some experience first and get working before worrying about all that union stuff. Chances are that even if you get in the union, you won't work much if you lack experience so there's very little benefit to you. It might even be harder to get work simply because you are in a union if you are just beginning. Non union shows tend to be much less picky about that sort of thing.
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Apr 5, 2013 12:52
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Aubergine, spinach and red onion tart followed by carrot cake for dessert. Unit catering is the best thing.
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Apr 5, 2013 14:22
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Great thread you guys have here. I hosed around with acting in high school, gave some thought to maybe pursuing it for a living, but gave it up quick to go do other things in life. My friends back home are involved in the Chicago comedy scene and dabble in other creative outlets while they try to hit something. I love hearing their stories about their experience working or making their own stuff. So in a way I'm an outsider looking in with some envy that you guys do this for a living. With that being said, here's a question: not every job is your favorite or something you're really thrilled to work on so how do you put up with all the poo poo working on a really lovely production? Is it just a "glad to have a job!" type deal or just a sincere love of the work that keeps you motivated?
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Apr 15, 2013 06:00
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holocaust bloopers posted:With that being said, here's a question: not every job is your favorite or something you're really thrilled to work on so how do you put up with all the poo poo working on a really lovely production? Is it just a "glad to have a job!" type deal or just a sincere love of the work that keeps you motivated? I drink a lot.
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Apr 15, 2013 06:04
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holocaust bloopers posted:With that being said, here's a question: not every job is your favorite or something you're really thrilled to work on so how do you put up with all the poo poo working on a really lovely production? Is it just a "glad to have a job!" type deal or just a sincere love of the work that keeps you motivated? A combination of things, but mostly just genuinely loving it. I've been on bad productions, waiting for that final take of the day just like any other film slave. But, any dislike I've had on a production is very different from the problems I've had in, say, retail. I may have wanted for that day to end, but I've never wanted to walk off set or out the door anywhere. Plus, there may be a few egos running around, but more often than not you'll find plenty of people to hang with who are in your same boat and tend to be genuinely nice. I suppose it's like anyone who finds the job or career they "know" is right for them; it just feels right and you don't want to leave it deep down. I mean, yeah, you're going to hate the unemployment office and pray for every lead you get over the Summers out here because the industry's so cyclical, but we still keep wanting to come back after all. Of course, that's also why they say you have to really be passionate about acting/writing/whatever and not just want to be famous to do it as a career. A few monotonous 18-hour days in a row and you will find out really loving quick if it's the industry for you or not.
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Apr 15, 2013 14:20
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You don't get a career in your chosen field without some amount of passion for it; so even on the lovely gigs for me it's a mix of personal pride and love of the process rather than being enthralled with the project itself. Otherwise I'd just go an be an architect.
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Apr 15, 2013 14:41
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...and have a lot more money.
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Apr 15, 2013 17:55
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Married someone willing to support my habit.
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Apr 15, 2013 23:31
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holocaust bloopers posted:With that being said, here's a question: not every job is your favorite or something you're really thrilled to work on so how do you put up with all the poo poo working on a really lovely production? Is it just a "glad to have a job!" type deal or just a sincere love of the work that keeps you motivated? The point is, don't stress and don't worry. It's just a movie, it's not rocket surgery. Have fun with it Also alcohol.
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Apr 17, 2013 10:55
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Also, generally being in The Media tends to have lifestyle perks to ease the pain of lovely gigs. It's still not great, though, until you are an HoD on a decent show or a film, which tends to mean making bank and working slightly less hours day-to-day (but the project tangles deeper into your real life as a result). I'm about 3-4 years away from hitting Supervising Art Director on TV shows, and that's around the time things become comfortable/very comfortable. Probably would have done IT in retrospect, though.
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Apr 17, 2013 22:35
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It in Hollywood is great, but the qualifications are extremely low. If you're just doing computer janitor stuff, there are 3 generations of Hollywood Producers who don't know how to sync their contacts or type over 20WPM. Just don't get lured into assistency. (The key is to charge an exorbitant amount per hour).
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Apr 18, 2013 00:01
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Golden Bee posted:It in Hollywood is great, but the qualifications are extremely low. If you're just doing computer janitor stuff, there are 3 generations of Hollywood Producers who don't know how to sync their contacts or type over 20WPM. Tell me more about low-qualification opportunities for IT majors in Hollywood!
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Apr 18, 2013 02:31
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Wait for someone rich looking to complain about their phone, or not know what POP3 is. This will not take long.
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Apr 18, 2013 18:07
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Golden Bee posted:Just don't get lured into assistency. (The key is to charge an exorbitant amount per hour). Allllll over it.  Not in Hollywood, but drat, my somewhat average grasp on tech interfaces is apparently a hell of a hot commodity to non-profits full of older folk.
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Apr 18, 2013 18:36
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Can someone please fill me on the life of a Hollywood publicist and how hard it is to break into that field? Any info would be appreciated!
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Apr 19, 2013 04:11
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Crossposting this from the cinematography thread; I wrote an article about the making of a movie I shot at the Cannes filmfestival last year called "Seduced and Abandoned". Was an insane ride and the people at Steadicam asked me to write about it, this is the result. Might be a nice read for people with an interest in moviemaking or Steadicam and I am very proud of the finished movie (which premiered at this year's Cannes festival to great reviews). Hope you enjoy it! http://www.flysteadicam.com/the-little-rig-that-could/
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Jun 15, 2013 17:58
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If any of you guys in "the film business" here could do something about making a sequel to Dredd happen, I would sell you my soul.
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Jun 16, 2013 01:39
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I'm 51 and at a point in my life where I could have the time to gain experience doing crew work (even work a few free freebies, just to get something recent and relevant on my resume), probably aiming for sound department stuff. But do I really want too? I've done some background extra work on some studio productions, and it's usually fun...for the first 12 hours. While I'm just about exhausted hanging around doing nothing all day (that's what extras do, it's our thing), I just can't fathom where the crew gets this supernatural energy to blast through 15 hours, put stuff away, then back at it at 7am! Exhaustion, frayed nerves, and celebrity talent who are just as tired as everyone else. At 51, it's hard to keep a neutral face in the face of all that fatigue. Looks more like a perpetual scowl and sounds like a great recipe for "You'll never work in this town again, Peenigrippe!" I think I'd rather just be an idea man. Any openings for those?
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Jul 16, 2013 20:07
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Steadiman posted:Crossposting this from the cinematography thread; I wrote an article about the making of a movie I shot at the Cannes filmfestival last year called "Seduced and Abandoned". Was an insane ride and the people at Steadicam asked me to write about it, this is the result. Might be a nice read for people with an interest in moviemaking or Steadicam and I am very proud of the finished movie (which premiered at this year's Cannes festival to great reviews). Hope you enjoy it! Hey! The company I used to work for is selling that internationally. They're very good, and apparently the film is too.
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Jul 16, 2013 23:07
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Idea labor is hard work, and if you say otherwise, there are a lot of writers, development execs and coordinators who'd like to throw bricks at you. Volunteer on a music video; even if it sucks, it's only a few days. There's no way to learn like doing.
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Jul 17, 2013 08:23
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therattle posted:Hey! The company I used to work for is selling that internationally. They're very good, and apparently the film is too.
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Jul 18, 2013 09:42
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Here is the trailer for my movie, should give you all some idea of what it's about. I'm very proud of it, as you can tell . Hope you like it! https://www.youtube.com/watch?v=GfzrA5seD3c
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Jul 30, 2013 23:30
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Cool stuff! Interesting font and color choices.
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Jul 31, 2013 06:24
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I live in Burbank and I'm a director who hasn't "made it" yet. My only real qualification for "making it" is to quit my day job and be able to support my family without my wife needing to work. This is my advice to anyone trying to get in to the industry, not only to direct but to do any job; you have to love it enough to be able to keep at it even if you never ever "make it". I got lucky and was hired to write and direct a feature because a producer liked my thesis film and other body of student work. I haven't and won't make a dime off of it and that's okay, because I got to make a movie and I was lucky enough to not have to spend anything to get it made. https://www.youtube.com/watch?v=xuJJUWC-uAI I think that if I keep at it I might get to make at least two or three more features before I die and I probably won't make much or any money off of them either, and I'm okay with that. A couple months ago I made a spec ad for Campbell's Soup that won a contest and they shipped me and my wife out to Cannes for a week to collect the award and party down, live it up on the Riviera. When I told my co-workers, they said, "Welp, Goodbye Squaredog. You're sure to get representation and I guess you won't be working around here anymore." To which I responded, "I wouldn't bet on it." Sure enough, after the expense paid trip was over, the prize money, and some hearty pats on the back, it's back to working that 9-5 like it never happened, still chugging away, doing my projects on the side when I can. The industry isn't knocking down my door to have me work for them, and that's okay. My best hope is that I can get into commercials and earn a decent enough living to "make it", but that hasn't happened yet. I just keep working, try to enjoy it and hope for the best. Now I'm working on finishing a feature script, post production on an ambitious short, and then doing more spec ads until I can get hired to make real ads, and that's okay with me. Also, don't be a dick.
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Jul 31, 2013 09:22
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SquareDog posted:Los Trafficantes Small world.
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Jul 31, 2013 23:05
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Ha, small world indeed. We just found out that it's going to play at the Burbank International Film Fest in September. Don't know how many here would care to see it, to it's core it's a "faith-based" film. It's not the story I would have chosen to make on my own but I'm happy with what we did with what little resources we had, especially within the restrictive bounds of the faith based market. Good job, by the way. The timing was perfect.
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Jul 31, 2013 23:18
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Yo LA production goons. I got a ticket for filming without a permit last year about this time. I was never able to pay it nor go to court cause I live and work in NYC and no one in LA would answer the phone for months. I need to go back in a few weeks to film again. Will there be a warrant for my arrest when I try to get a permit?
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Aug 1, 2013 22:05
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I would call http://www.filmla.com/ and ask them. They probably deal with that sort of thing on the regular.
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Aug 1, 2013 23:33
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SquareDog posted:I live in Burbank and I'm a director who hasn't "made it" yet. My only real qualification for "making it" is to quit my day job and be able to support my family without my wife needing to work. This is my advice to anyone trying to get in to the industry, not only to direct but to do any job; you have to love it enough to be able to keep at it even if you never ever "make it". I got lucky and was hired to write and direct a feature because a producer liked my thesis film and other body of student work. I haven't and won't make a dime off of it and that's okay, because I got to make a movie and I was lucky enough to not have to spend anything to get it made. https://www.youtube.com/watch?v=xuJJUWC-uAI I think that if I keep at it I might get to make at least two or three more features before I die and I probably won't make much or any money off of them either, and I'm okay with that. A couple months ago I made a spec ad for Campbell's Soup that won a contest and they shipped me and my wife out to Cannes for a week to collect the award and party down, live it up on the Riviera. When I told my co-workers, they said, "Welp, Goodbye Squaredog. You're sure to get representation and I guess you won't be working around here anymore." To which I responded, "I wouldn't bet on it." Sure enough, after the expense paid trip was over, the prize money, and some hearty pats on the back, it's back to working that 9-5 like it never happened, still chugging away, doing my projects on the side when I can. The industry isn't knocking down my door to have me work for them, and that's okay. My best hope is that I can get into commercials and earn a decent enough living to "make it", but that hasn't happened yet. I just keep working, try to enjoy it and hope for the best. Now I'm working on finishing a feature script, post production on an ambitious short, and then doing more spec ads until I can get hired to make real ads, and that's okay with me. By the way, great job on the movie!
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Aug 2, 2013 12:59
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Thanks brother, and congratulations on your movie as well. It was fun watching the trailer especially now that I've been there and recognize a bunch of the locations. Thanks for the advice on it! When I talk about my trip to people I always have to explain the Lions Festival, I've narrowed it down to: Cannes Film fest is full of celebrities and wannabe celebrities and the Lions Festival is full of Mad Men and wannabe Mad Men, either way everyone is drunk.
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Aug 2, 2013 16:12
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I'm having a really bad day on set today guys and gals, just wanted to share with people who understand. Everything is a crisis and there's more agency/client here than crew. Kill me now, please.
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Aug 21, 2013 19:43
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EnsGDT posted:I'm having a really bad day on set today guys and gals, just wanted to share with people who understand. Did they fly out their whole agency team and they are treating it like a vacation? Turns into like 10 creative directors and nothing gets accomplished. I've had many 16+ hour days because of that. God speed.
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Aug 21, 2013 19:53
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Hey my 8 year old niece over there on her 3DS has some ideas. You don't mind do you?
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Aug 21, 2013 20:52
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bows1 posted:Did they fly out their whole agency team and they are treating it like a vacation? Turns into like 10 creative directors and nothing gets accomplished. I've had many 16+ hour days because of that. It's not a vacation, they came to work, there's just too god drat many of them. We have a group from agency, and two separate clients working on integration, one from a major TV network and one from a major US company. I'm PMing this and I cannot wait to be on a different job tomorrow just loving PMing for a producer who knows what the gently caress she is doing. BonoMan posted:Hey my 8 year old niece over there on her 3DS has some ideas. You don't mind do you? God I wish then at least I'd have someone to talk to that understands me haha
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Aug 21, 2013 21:19
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EnsGDT posted:It's not a vacation, they came to work, there's just too god drat many of them. We have a group from agency, and two separate clients working on integration, one from a major TV network and one from a major US company. I'm PMing this and I cannot wait to be on a different job tomorrow just loving PMing for a producer who knows what the gently caress she is doing. Sup PM buddy. Ya sometimes it's worse when they really want to work, and drat that is a lot of cooks in the kitchen! I just wrapped a shoot yesterday, 35+ crew members, on location etc. I've been planning it for two weeks but I was the producer/pm/pc. Thank god I had a PA on the day before. I feel your pain. Where are you based?
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Aug 21, 2013 21:48
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bows1 posted:Sup PM buddy. Ya sometimes it's worse when they really want to work, and drat that is a lot of cooks in the kitchen! I'm based out of Los Angeles. Just out here living the dream! Yourself? Edit: Top two best things so far that they've sprung on me. 6PM of day 1 of shooting: "Hey btw we're SAG so we're gonna need all that paperwork for our 3 principals, two of which are Taft-Hartley, and our 10 background." Noon of day 1 of shooting: "Hey we want American Humane approval, so lets get them on set for when our Alligator is there at 4P, cool thanks." EnsGDT fucked around with this message at 00:31 on Aug 22, 2013 |
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Aug 22, 2013 00:28
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Well I'm here in Mississippi if any of you chumps wanna come join. James Franco is gearing up for his second Faulkner adaption in a few days. And if it was anything like the last one... you can essentially just walk on set and start working!
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Aug 22, 2013 00:55
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